Great New Poetry Books for You and Your Book Group A National Poetry Day selection
←
→
Page content transcription
If your browser does not render page correctly, please read the page content below
Great New Poetry Books for You and Your Book Group A National Poetry Day selection This list of ten books is perfect for reading groups thinking of dipping into poetry, often edited or written by great names who love poetry so much that they want to share it – Clive James, John Carey, Kate Clanchy, Cerys Matthews and Carol Rumens. It’s not just for book groups, though: whether you are discovering or re-discovering poetry, a well-tuned anthology (The Forward Book of Poetry 2021) or a garlanded best-seller (Roger Robinson’s A Portable Paradise) is always a great place to start. Think about the times and reasons we most often turn to poems – celebration, grief, confusion. And think about what they offer us: different perspectives, fresh hope, the world renewed. Poetry is a generous and open art and doesn’t have to be daunting. We’re recommending ten amazing books that are ideal for book groups. The background and suggestions below should help you pick a book of interest to your group. Try to plan your meeting ahead of time as poetry might require a different format for discussion. If a whole book seems too much to digest, then pick a few poems to focus on instead. We recommend you start your session by taking it in turns to read a poem aloud to the group – time allowing, perhaps each member could pick a favourite and say a little about why they like it. We’ve come up with a few pointers you can use to prepare or initiate conversation if needed, but remember there is no wrong or right way to approach poetry, or to appreciate and discuss it. Just open up to the poems and they will open up to you.
Staying Human: New Poems for Staying Alive
Edited by Neil Astley, Bloodaxe Books, Paperback, £12.99
The latest instalment in the hugely popular series of contemporary poetry
anthologies is another bumper book of ‘real poems for unreal times’. Offering
an even broader perspective of global voices, the poems here deal with
traditional themes of love, family, identity and loss. This timely collection also
includes poems that tackle the particular challenges of our moment,
including racism, ecological crisis and even the coronavirus pandemic.
1. This is a large anthology, so you may want to pick one or two sections to look at in detail. Alternatively,
split the sections among the group so each member can share their highlights and insights.
2. Certain poems in this collection have ‘gone viral’, for instance Danusha Laméris’s ‘Small Kindnesses’.
What do you think it is about this and other poems that provokes a sudden interest online?
3. As well as the themed sections, you’ll find groupings of poems with the same title or titular subject
matter. Take a pair of poems and compare the use of language and form to discuss how these produce
the overall tone and messages.
4. Many of these poems speak directly to our present moment. Do these poems still resonate when taken
out of context? Can poems written in response to a particular situation be universal?
Dancing by the Light of the Moon
Gyles Brandreth, Penguin Random House, Hardback, £14.99
Gyles Brandreth is passionate about ‘the extraordinary brain-boosting,
heart-lifting, life-enhancing way in which learning poetry by heart can change
your life.’ In this engaging and amusing best-seller you’ll learn how to
memorise poems and why it is to your benefit to do so. You’ll find 250 of
the nation’s favourite poems to enjoy and learn, the science to explain what
poetry does to our brains, and the tricks to help you remember them – from
a haiku to a sonnet to an epic.
Check out Brandreth’s Twitter feed @GylesB1 for more: throughout lockdown
he shared a poem a day.
1. What poems do you already know by heart? Why do you think they’ve stuck with you?
2. Discuss the benefits of learning poetry by heart as Brandreth describes throughout this book. Do any
of these particularly ring true or appeal to you? Is there anything you think you’ll put into practice?
3. To prepare for your group meeting you might want to do as this book suggests and learn some poems
to perform. Perhaps you could each learn a different poem or each learn a verse of the same poem.
Listen to the poems aloud and try to discuss them first without looking back at the text of the poem on
the page.
4. If you choose to learn a poem, by heart you will inevitably spend a lot of time with it. How has your
understanding and experience of the poem changed over the course of memorising it?
2
A Little History of Poetry
John Carey, Yale University Press, Hardback, £14.99
John Carey believes the primary role of the critic is to communicate the enjoy-
ment of reading. This book does that by travelling through time to illuminate
the defining moments in the history of poetry. From the Epic of Gilgamesh to
Maya Angelou, this book offers a succinct overview in charming and engaging
essays. Carey, emeritus Merton Professor of English Literature at the University
of Oxford and chief book reviewer for The Sunday Times, introduces some of
the greatest poems ever written, explaining the contexts in which they were
written and received as well as the reasons they remain so powerful today.
1. The first four chapters look at the ancient origins of poetry. What do these tell us about poetry’s
staying power? How have they shaped verse up to the present day? What remains and what has
changed?
2. Carey writes: ‘Like death, love is one of poetry’s perennial subjects.’ Why do you think this is? And are
there other ‘perennial subjects’ of poetry?
3. What insights does Carey give us into poetic devices such as form, metre and rhyme? How important
do you think these techniques are? Do some forms seem to be more timeless than others, or is all
poetry shaped by the fashion of the time and place in which it was composed?
4. Carey’s is a personal approach to the poetry he loves and holds dear. How much of the poetry Carey
discusses did you know about? Has he made you revisit texts or seek out writers for the first time?
Are there poets or pieces of poetic history you feel he has missed out? Do his opinions alter your own
perspective on poetry?
How to Grow your own Poem
Kate Clanchy, Picador, Paperback, £14.99
Kate Clanchy, as well as being an acclaimed poet, is known for her best-
selling memoir, Some Kids I Taught and What They Taught Me and for the
extraordinary England: Poems from a School, an anthology by her secondary
school students. Years of teaching feed into this practical guide, which
centres on the belief that the best way to help people write poems of their
own is to share other poems. Here she shares the poems and exercises which
have been inspirational in helping new writers to build their own creative
practices. Whatever your level of experience, you’re invited to read, think
and write along.
1. Since this is a practical book you’ll want to approach it differently. Agree what you want to do before
your group meets: pick an exercise or discussion point from the book. You might want to try several
exercises at home and bring the results. Perhaps you could read your poem and the group could try
and work out which one it responds to?
2. Do you usually write poetry? If so, did this book offer you extra ideas or encouragement? If not, did
you find this book a good way to flex your poetic muscles? Was the experience of writing a poem as
you expected?
3. Were there things in this book that surprised you, that you didn’t expect to find in poetry? What
would you like to write poetry about? And what is perhaps missing in the poetry you’ve read?
4. What lessons about form and structure have you learned from this book? Has it expanded your ideas
of what ‘makes’ a poem?
3
Life Support: 100 Poems to Reach for on Dark Nights
Edited by Julia Copus, Head of Zeus, Paperback, £9.99
We often turn to poetry in troubled times. Copus, herself a remarkable poet,
believes this is because poetry has ‘strong curative powers’ and can ‘offer an
escape from the constant chatter of everyday thought and help us to reorient
ourselves within the chaotic landscape of our lives’. In this anthology she has
selected poems for this purpose – though in other ways the range of work
here is extremely diverse in style and subject and includes both well-known
classics and recent work from exciting contemporary poets. You are sure to
find something here you were looking for, even if you didn’t realise you were
looking for it.
Read her blog about the making of the anthology here: bit.ly/JuliaCopus.
1. This book is designed to be dipped into, so reading it from cover to cover may not be the best
approach. As a group you may want to assign each person a poem to present on or memorise to recite
it. Record your responses and then spend some time with the poem – how do your responses change
with further readings?
2. In her introduction, Copus explains that the subtitle of this anthology came from the idea of waking in
the night in need of ‘the right kind of poem’. Do you have poems which you keep close for this
purpose? Have you discovered in this collection any new poems that you wish to have at hand?
3. How does reciting a poem make you feel physiologically? How does it change your body – heart rate,
breathing, posture? Do you experience any physical sensations on reading or hearing particular poems?
Can you identify the ways the poet has shaped the poem to affect your experience – perhaps through
rhyme, form or cadence?
4. Do you find poetry therapeutic? What is it about poems that makes them an antidote to the ‘chaotic
landscape of our lives’? How can they offer us solace when other sources fail?
The Fire of Joy
Clive James, Picador, Hardback, £20.00
Clive James, national treasure, died last year after a long illness and The Fire
of Joy is his final book; a selection of the poems he treasured most, presented
in chronological order alongside personal commentaries. He intended these
poems to be remembered and recited. The title is taken from the French
expression feu de joie, a military celebration where riflemen fire in succession:
‘It still strikes me as a handy metaphor for the poetic succession, especially
because, in the feu de joie, nobody got hurt. It was all noise: and noise, I
believe, is the first and last thing that poetry is. If a poem doesn’t sound
compelling, it won’t continue to exist.’
James’s enthusiasm reminds us that our personal connections to a poem are as
important as any literary criticism.
1. Before you meet, pick a poem from the book to read aloud to the group, memorising it if you like.
Refer to James’s ‘Rules for Reading Aloud’. As a group try to first respond to the poem as read, as a
sound object rather than referring back to the page.
2. ‘One way or another, most good poems do have drama. And usually the story is the first thing to look
for.’ Do you agree with this statement? What stories are in these poems? How are they communicated?
3. How does reading aloud make you feel? Are some poems more enjoyable to read aloud? When was the
last time you performed a poem for an audience and what was the occasion?
4. Are there poems you already have memorised? Or that you remember ‘despite yourself’? Why do you
think they stick with you?
4
Tell Me the Truth About Life: A National Poetry Day Anthology, 100 Poems That Matter
Edited by Cerys Matthews, Michael O’Mara Books, Hardback, £12.99
Created to celebrate the 25th anniversary of National Poetry Day, this
indispensable anthology is built on poetry’s power to capture and convey
truth. Curated by poetry lover and BBC presenter Cerys Matthews,
nominations for poems were received from around the world. Public figures
– including singers, actors, politicians and sportspeople – offer their choices
and explain why these poems matter to them.
Here you’ll discover favourites old and new, plus some surprises, as well as
personal insights into the truth-telling power of poetry.
1. Is the ‘truth’ of a poem its most important feature? Or are its aesthetic aspects – such as music and
imagery – as important?
2. Are there poems in this anthology you’re already familiar with? Did reading them again give you a
fresh perspective or understanding of them?
3. As well as well-known classic poems, this book contains poems by contemporary writers. Did any of
these poems change your idea of what poetry does or is doing today? Will you seek out more poems
by any of these poets?
4. ‘You know how certain phrases burrow deep inside you until they’re in your bones: they keep you
upright when bad news hits and, like a mantra, they steady the wandering mind,’ writes Matthews in
her introduction. What lines or phrases are burrowed deep inside you? Maybe they aren’t from a
‘poem’ as such, they could be song lyrics, dialogue from a TV show, a speech. What would you
contribute to this anthology and why?
A Portable Paradise
Roger Robinson, Peepal Tree Press, Paperback, £9.99
Afua Hirsch calls Robinson ‘the voice of our communal consciousness’ and
his latest collection has been greatly lauded, winning both the TS Eliot Prize
and the Royal Society of Literature’s Ondaatje Prize. A Portable Paradise is a
powerful exploration of grief and survival, depicting the racism, inequality and
injustice of modern Britain in its many forms. These poems are powered by
more than just anger: the tenderness of the portraits of Grenfell survivors, the
joy as well as the pain he evokes in family life and the incisive subtlety of his
imagery make Robinson a bright light in contemporary poetry.
1. What emotions are displayed in the sequence of poems about Grenfell? Are these elegies – poems of
mourning – or is there more going on?
2. There are many mentions of food in this collection. Why do you think this is? How does Robinson use
food? What other recurring themes or images can you find in the book?
3. What is the meaning of ‘paradise’ here? Compare the poems that have ‘paradise’ in the title.
4. What different forms do these poems take? For instance, there are many prose poems here, appearing
on the page as blocks of text. How does the shape of the poem on the page shape our experience of it
and reflect the content?
5
Smart Devices: 52 Poems from The Guardian ‘Poem of the Week’
Edited by Carol Rumens, Carcanet, Paperback, £14.99
For over 12 years, the poet Carol Rumens has edited the brilliant ‘Poem of
the Week’ feature in The Guardian. Picking poems that pique her interest,
she shares them with readers, alongside her insightful reading of the work,
and invites commenters to share their own thoughts and responses.
The welcoming enthusiasm of the blog has brought it popularity and many
dedicated followers. Now Rumens has selected 52 of the best to compile
an anthology which presents a dazzling array of contemporary poetry and
mini-essays that will help you to enjoy them all the more.
1. Play blog commenting! Commenting online offers us a certain anonymity which can help bypass any
shyness we experience sharing our responses to a poem. Pick one poem before your group meets
and get everyone to write their initial thoughts on a piece of paper. Mix all the notes together and
pull out randomly to share – then see where the discussion takes you!
2. Discuss one of the poems in translation here. In what other ways might poems need translating even
if they are written originally in English?
3. What (if anything) unites the poems Rumens has chosen? Pick a theme for this collection? Do you
think the title suits the contents or could you come up with an alternative title?
4. How useful did you find Rumens’ explorations of the poems? Did they help to develop your
appreciation? Did you learn anything new or which might change the way you approach poems in
future?
The Forward Book of Poetry 2021
Chosen by the judges of the Forward Prizes 2020, Faber & Faber, Paperback, £9.99
Even in the most extraordinary year, the Forward Prizes – run, like National
Poetry Day, by the Forward Arts Foundation – can be trusted to bring us
‘some of the most exciting new work in international poetry and to suggest
the great variety of what is being published right now in Great Britain and
Ireland’. Here you’ll find selections from the collections shortlisted for the
2020 Forward Prizes alongside highly commended work.
During the crises of 2020 people increasingly turned to poetry, leading
Vanity Fair to declare poetry was ‘having a moment’. ‘Poetry had a moment
that lasted through both world wars,’ counters Forward jury chair Alexandra
Harris: ‘It has a moment whenever there is pressure and threat, and
whenever we want to think carefully – together or individually.’
1. Many of the poems included here draw on languages other than English. What is the purpose of
weaving together languages? Does it matter if you understand all the words?
2. What ideas of identity, similarity and difference can be found in this anthology?
3. Harris writes of reading in lockdown: ‘I was paying attention to small shifts in the view from my win-
dow and following the unfolding drama of new chestnut leaves, adapting to a radically contracted
geography while awaiting updates on a shared situation that was affecting all humankind.’ Consider
the large and small scales at work in individual poems and how these can alter our perspective. How
does your own situation at the time colour your reading of poems?
4. Play judges! From the work of the shortlisted poets featured here, choose a winner for each category
and explain why. Or discuss which of the highly commended poets you’d like to read more? Are there
any collections you’ll be rushing to buy?
6
You can also read
